Redesigning the survey course: A focus on music, historically excluded identities, and the canon
So‐called survey courses have been a persistent but contested genre in world languages, especially in regard to “the canon,” an unstable concept that has historically determined the textual choices of such surveys. This article presents a case study for redesigning the survey course genre in line wi...
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Published in | Die Unterrichtspraxis Vol. 57; no. 2; pp. 247 - 262 |
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Main Author | |
Format | Journal Article |
Language | English |
Published |
01.09.2024
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Abstract | So‐called survey courses have been a persistent but contested genre in world languages, especially in regard to “the canon,” an unstable concept that has historically determined the textual choices of such surveys. This article presents a case study for redesigning the survey course genre in line with theory to diversify, decolonize, and decanonize the curriculum. It discusses a number of steps concerning the theoretical background, textual improvements, approaches to assignments, classroom atmosphere, and general pedagogy. It reflects on questions of positionality, institutional support, and workload. Focusing on music and short texts, the survey course described here questions the common practices and core values of German studies, music history, and musicology, and takes a critical stance toward privilege and power. In this context, the course counters tokenization, juxtaposes non‐canonical and canonical works, and focuses on inclusion, diversity, equity, and accessibility work, as well as universal instructional design principles and social justice education. Thus, the survey becomes a new genre—one that still offers students the breadth of cultural production but relies on a particular set of prerequisites determined by factors such as the space, time, and accessibility of a course, as well as the identity markers of instructor and students. |
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AbstractList | So‐called survey courses have been a persistent but contested genre in world languages, especially in regard to “the canon,” an unstable concept that has historically determined the textual choices of such surveys. This article presents a case study for redesigning the survey course genre in line with theory to diversify, decolonize, and decanonize the curriculum. It discusses a number of steps concerning the theoretical background, textual improvements, approaches to assignments, classroom atmosphere, and general pedagogy. It reflects on questions of positionality, institutional support, and workload. Focusing on music and short texts, the survey course described here questions the common practices and core values of German studies, music history, and musicology, and takes a critical stance toward privilege and power. In this context, the course counters tokenization, juxtaposes non‐canonical and canonical works, and focuses on inclusion, diversity, equity, and accessibility work, as well as universal instructional design principles and social justice education. Thus, the survey becomes a new genre—one that still offers students the breadth of cultural production but relies on a particular set of prerequisites determined by factors such as the space, time, and accessibility of a course, as well as the identity markers of instructor and students. |
Author | Schicker, Juliane |
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Cites_doi | 10.1111/j.1540‐4781.1926.tb03739.x 10.1111/j.1756‐1221.2011.00102.x 10.1215/9780822373377 10.2307/322218 10.1111/tger.12138 10.1111/tger.12098 10.1111/tger.12094 10.36021/jethe.v3i2.95 10.1515/9783110674392 10.2307/20070794 10.1007/978-3-476-05564-4_5 10.2307/313996 10.1007/978-3-030-34342-2_3 10.1177/0032329299027001 10.1017/rac.2022.1 10.1353/hpn.2021.0097 10.2307/j.ctv4ncntg.13 10.1353/gsr.2023.0033 10.17831/enqarcc.v19i1.1135 10.1215/0094033X‐10708307 10.30535/mto.26.2.4 |
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